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NEW CRUSHING EDGE POST

September 6, 2010

In which I get analytical about #merven:

SECONDARY CHARACTERS, EXCELLENT ACTRESSES + THE SERIOUSNESS OF COMEDY (AMONG OTHER THINGS)

The Merchant of Venice has finished its run. I have been absorbed in it, amazed by it, fascinated by the mechanics of it, frustrated by having to perform in it and happy to have had my do a kick ass #merven to balance the universe plan exceeded by the excellence of Shakespeare’s play and the hard work and talent of the actors involved.

There is a Michelle Denise Norton Theory of Directing. It’s madly awesomely complicated + impressive. Here we go:

*Pick a good play
*Put the right actors in the right parts
*Stay out of the way

Now you try it ; )

#merven is one of Shakespeare’s strongest plays. No extraneous subplots, no weaknesses and a strong foundation of things at stake that provide a launching pad for the comedy. I don’t know that I’ve ever realized this clearly that the scary/dramatic/perilous sections of the story make the comedy that much brighter. The bleed to death stakes of the Antonio/Shylock courtroom confrontation transitioned so much better than I expected to the teasing flirtation of “What ring gave you my lord? Not that I hope which you received of me.”

Read the rest here.

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